Auteurs : Xavier Lemoine http://www.peren-revues.fr/coupdetheatre/104 Publications de Auteurs Xavier Lemoine fr 0 Guillermo Gomez-Pena : multiplication des frontières, mosaïque des identités http://www.peren-revues.fr/coupdetheatre/1394 mer., 08 juil. 2026 15:01:22 +0200 mer., 08 juil. 2026 15:01:34 +0200 http://www.peren-revues.fr/coupdetheatre/1394 Foreword http://www.peren-revues.fr/coupdetheatre/856 mer., 20 août 2025 16:24:33 +0200 lun., 06 juil. 2026 10:26:08 +0200 http://www.peren-revues.fr/coupdetheatre/856 Angels in America: Performing American Border-Crossing on the French Stage? http://www.peren-revues.fr/coupdetheatre/838 By looking at several productions in France of Tony Kushner’s Angels in America (1992), this contribution explores the meaning of American cross-cultural performance. Considering with Schechner that theater is a “performance text” defined by its context, dramatic traditions, actual performances, reception and repercussions, the essay discusses to what extent Kushner’s play blurs the perception of American theater in France by offering a fecund hybrid style. First, it will delineate some epistemological categories framing the French reception of American performance by pointing out how US shows are often filtered through a binary vision of American theater as either psychological realism (Tennessee Williams) or cutting-edge avant-gardism (Robert Wilson). Then, after highlighting the play’s postmodern themes and style, the essay will uncover the echoes and limits of this reception model by testing it through the productions of Brigitte Jaques-Wajeman (1994; 1996), Krzysztof Warlikowski (2004), Ivo van Hove (2008) and Aurélie Van Den Daele (2015-18). They all provide historical, political, social and esthetic figurations of America on the European stage. If a number of clues (negative reviews) could suggest a cultural bias toward US drama, the staged play overall complicates the meaning of cultural transfer thanks to the artists’ creativity. The success of the play further implies that its “fabulous” epic style could be a measure of a new hybrid American theatricality. The final section focuses on a few tropes (speed, fluidity and queerness) and sheds light on the cross-cultural creative processes of the play’s staging. Ultimately, it underlines the potentiality of the anthropological gap yielded by a performance text. lun., 10 févr. 2025 10:02:43 +0100 mer., 08 juil. 2026 14:02:05 +0200 http://www.peren-revues.fr/coupdetheatre/838 “‘Arts for the queer community’: Creating Queer Theater for a New Generation”: A Conversation with Adam Odsess-Rubin (Artistic Director of the National Queer Theater) http://www.peren-revues.fr/coupdetheatre/221 lun., 13 janv. 2025 10:00:42 +0100 mer., 08 juil. 2026 10:17:15 +0200 http://www.peren-revues.fr/coupdetheatre/221 “ ‘I really prize rage’: 50 years of Queer American Theater” : A Conversation with David Savran (Distinguished Professor of Theatre and Performance, Very Mowry Roberts Chair in American Theatre, Graduate Center, City University of New York) http://www.peren-revues.fr/coupdetheatre/219 lun., 13 janv. 2025 09:44:14 +0100 mer., 08 juil. 2026 10:15:58 +0200 http://www.peren-revues.fr/coupdetheatre/219 Introduction http://www.peren-revues.fr/coupdetheatre/103 mer., 18 déc. 2024 15:25:14 +0100 mer., 08 juil. 2026 10:03:42 +0200 http://www.peren-revues.fr/coupdetheatre/103